Haruka and the Magic Mirror

Haruka and the Magic Mirror is a 3D computer animated movie based on a Japanese legend of a trickster fox who collects people’s forgotten belongings. When Haruka, the plucky 16-year old protagonist, loses a precious mirror that her mother gave her as a child, her search for it leads to Oblivion Island, a hidden world full of magic yielding creatures and gorgeous scenery porn.

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In this hidden world, Haruka meets Teo, a rabbit-like youngster who’s part of a large group assigned with the task of retrieving items from the human world. Teo woefully under-performs, and is mocked and bullied by his peers for his lack of prowess. Everyone here is at the service of a dictator known as the Baron, a burly and effeminate character who lives in a flamboyant airship that hovers over Oblivion Island. The Baron has an invested interest in collecting mirrors—particularly the fine one Haruka possessed—as they’re said to embody great powers.

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There are a lot of strong feelings about the use of computer animation in anime. Some people hate 3D with the passion of a thousand suns, while others don’t care, or may not even notice how it differs from traditional mediums. Typically, hand drawn animation reflects the personal and inexact touch of a human artist, while computer animation combines art with technology to potentially create detailed and photorealistic imagery. In recent years, toon-shaders, a rendering method that strips down lighting details to emulate a 2D look, have gained popularity.

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For Haruka and the Magic Mirror, Production I.G.—under the supervision of writer, director, and video game developer Satou Shinsuke—went for a more complete 3D look. The characters are fully shaded with soft shadows and indirect lighting, and their mouth movements are synced to the syllables of the Japanese voice acting. The environments and vehicles of Teo’s world are an assemblage of the countless items taken from the human world, creating a really cool patchwork aesthetic. The backgrounds have a unique quality to them as well, and appear to have utilized a mix of hand painted and 3D techniques.

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Haruka and the Magic Mirror is a family movie with a simple story and characters that are fitting for its target audience. There are some dark moments that could be troubling for a pretween, but there’s no strong sexual or violent content. The finale went a little overkill on the action; this wasn’t necessarily an issue for me personally as I kind of enjoyed the mess. On the whole, the fantastic art direction, wild action set pieces, and a sweet story about family, friendship, and gratitude provided adequate entertainment value.

Mushishi Zoku Shou: Drops of Bells

After a 9-year run, our tour with Ginko through the supernatural draws to a close with a short film adaptation of Suzu no Shizuku (Drops of Bells), the last arc of the acclaimed young adult manga—Mushishi—by Yuki Urushibara.

In the first half of Suzu no Shizuku, a girl leaves her family behind when she’s summoned to be the next lord of a mountain. Thriving lands, called “Rivers of Light”, require the presence of a lord to maintain the balance of the surrounding life. Choosing a human as a lord is an unusual move, however. Such a task is typically delegated to animals since they live with fewer emotional attachments.

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Several of the introspective themes that were previously explored in the Mushishi world are summarized here—most notably interconnectedness, the indifference of nature, and the necessity of letting go. All life—plants, animals, and humans—are dependent on each other, and are influenced by the ripples of cause and effect. Nature, which is personified in Suzu no Shizuku as the mountain lord, acts as the unbiased mediator. The overarching lesson seems to be that we should appreciate what we have, and not cling when the time comes to move on.

The second half concludes the story without quite concluding the series. The ending leaves some questions unanswered, but it ties up enough to guide your imagination to where the stories and characters could progress into the distant future. I’ll refrain from deconstructing this any further. To me, Mushishi is more of a meditation than a conventional story, and is therefore best appreciated without excessive analysis.

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The art, animation, and sound design have remained remarkably consistent over the years. The backgrounds in Suzu no Shizuku are just as gorgeous as they were when the first season aired in 2005. The character and special effects animation are fluid and precise. And the subdued and ambient melodies that have become a hallmark of this series are present as well.

When you think about it, it’s kind of a miracle that Mushishi, which is essentially about life experiences and nature, was made with such a substantial budget in today’s hungry and impatient climate. I’m grateful that ArtLand was willing to take a chance on such an esoteric and spiritual story, and that it’s been successful enough to adapt in its entirety. It’s been a truly extraordinary experience.

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My Favorite Anime

  1. Mushishi
  2. HaibaneRenmei
  3. Seirei no Moribito
  4. UchuuKyoudai
  5. JoJo no Kimyou na Bouken (TV)
  6. Oniisama e…
  7. Yojouhan Shinwa Taikei
  8. Eureka Seven
  9. Aoi Hana
  10. Kiss x Sis

In most previous renditions of this list, since around 2014, the top three have remained unchanged. One of the criteria for a favorite is how much of an immediate impact or lasting impression it has. Undoubtedly, the top three have had the strongest emotional impact of any anime I’d seen—or have seen since. Mushishi and Haibane Renmei in particular hit me on such a personal level that I tend to avoid casually talking about them.

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Seirei no Moribito is like a rare star alignment of story, character, animation, and sound. Every aspect was clearly and skillfully crafted, creating a wholly immersive world and mythology that I still reflect on. Eureka Seven is similar in this regard, though perhaps not as thematically complex. The animation in Seirei no Moribito, which really shines in the action sequences, was produced by Production IG (Jin-Rou), and the soundtrack was scored by the inimitable Kenji Kawai (Ghost in the Shell).

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The characterization in Uchuu Kyoudai (Space Brothers) may actually be more impressive. Even the supporting characters have weight and motivation. My attention span is embarrassingly fragile, and most 12-episode titles end up becoming a struggle for me to complete. Regardless, I breezed through all 99 episodes of Space Brothers with minimal fuss. The times that I did fuss was usually when I had to sleep or work, and couldn’t watch Space Brothers.

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It was fucking hilarious how unapologetically manly and ambiguously gay JoJo no Kimyou na Bouken (TV) was. If I remember right, I binged JoJo TV over the course of a few days so that I could watch Stardust Crusaders as it aired. JoJo TV, along with the two seasons of Stardust Crusaders, were the most fun I’ve ever had watching an anime. If a show can routinely make your stomach tighten from laughter, and make you say “oh shit!” out loud, it deserves to be ranked as a favorite.

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If you like shoujo-ai, you should thank Oniisama e as it’s the spiritual grandmother of the genre. Its direct influence is visible in the classics Maria-sama ga Miteru and Shoujo Kakumei Utena. Aesthetically, Oniisama e is more appropriately categorized as fine art. The hand drawn renderings, done with painstaking detail under the disciplined direction of Osamu Dezaki, are accentuated by a moving piano and orchestral score. It delves into heavy and taboo themes, and was consequently banned in some countries at the time of its 1991 release. There’s some humor, but the subject matter is taken completely seriously, never using its gay characters as props or fanservice. **Aoi Hana** could be considered a lighter version of Oniisama e.

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Lastly, Yojouhan Shinwa Taikei and Kiss x Sis, two anime that couldn’t be more different from each other, and yet are similar in that they are both unafraid of pushing boundaries, and doing the unexpected. The former does so with design and narrative, and latter does so with ecchi and crass humor. My favorite kind of shows, movies, and so on are generally the kind that take risks, that aren’t afraid of being different, or dangerous. I’m a simple man. Keep surprising me, I’ll keep watching.

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